Downtown Knoxville/Knoxville, Tennessee/Urban Living
Wednesday, February 15, 2012
Boyd's Jig and Reel - Plus: Blue Mother Tupelo
Boyd's Jig and Reel, Old City, Knoxville, January 2012
I've been hanging onto the shots I took of Blue Mother Tupelo last month, but hadn't found the right moment to work them in. In the meantime, I took a second visit to Boyd's Jig and Reel and I have to say the place is really growing on me.
Boyd's Jig and Reel, Old City, Knoxville, January 2012
I'd stepped in once before just to take the couple of interior shots you see here. I posted them before. I was impressed with the look of the place and the comfortable seating, with couches and soft chairs arranged to form cozy little areas of their own and small tables in their vicinity for food or drinks. Of course, there is bar seating on both sides, with a bar just large enough to hold a plate along one wall on one side and the full bar on the other. Booth seating is also available on the bar side.
Boyd's Jig and Reel, Old City, Knoxville, January 2012
A very nice, slightly raised stage sits at one end of the room with the small bar. It was there that Blue Mother Tupelo played the second time I visited Boyd's. I had an excellent meal, as well. I had the Smoked Salmon ($13), which is described as "Fresh salmon cured with a light smoke. Served with cream cheese, red onions, and capers on fresh baked artisan bread." It was even better than it sounded and it filled me up without feeling as if I'd over-eaten.
Ricky Davis of Blue Mother Tupelo
Micol Davis of Blue Mother Tupelo at Boyd's Jig and Reel
The third time was for drinks on a Friday night, but I decided to also try the seafood chowder which I really enjoyed. On that occasion I was there on a Friday around 6:00. It was late enough that a festive crowd had gathered, but early enough that it wasn't extremely loud. Shaft and I enjoyed talking to JC behind the bar and generally hanging out on a Friday after a long week at work.
Ricky Davis of Blue Mother Tupelo
Blue Mother Tupelo at Boyd's Jig and Reel, Old City, Knoxville
It's a great place and I highly encourage you to try it with and without music. Both are fun experiences, but also they are very different. They feature local music and Irish music each week, so they are excellent patrons of the local musical establishment and you know how I feel about our local musicians. Hope to see you there, soon.
Blue Mother Tupelo at Boyd's Jig and Reel, Old City, Knoxville
Blue Mother Tupelo at Boyd's Jig and Reel, Old City, Knoxville
Oh, and that band? Blue Mother Tupelo rocked the house. A massive number of people, including more than a few family members came to hear them and packed the house. We got there an hour early and were fortunate to be able to sit. That is more than some people could say, as there was a large crowd standing for most of the show. It wasn't as if any seats opened up, because no one left.
Blue Mother Tupelo at Boyd's Jig and Reel, Old City, Knoxville
Blue Mother Tupelo at Boyd's Jig and Reel, Old City, Knoxville
Ricky and Micol Davis (who are married) actually got their start playing nearby at Sassy Ann's. Ricky grew up in the area and still seems to consider it his musical home. The duo moved to Nashville in 1998 and they continue to be based there. Their most recent album, "Heaven and Earth" is the one that grabbed me. I'd encourage you to look it up. It continues to garner airplay on Americana radio stations.
Blue Mother Tupelo at Boyd's Jig and Reel, Old City, Knoxville
Blue Mother Tupelo at Boyd's Jig and Reel, Old City, Knoxville
The Fire Marshall allegedly made some people leave the room before the night ended, which was after midnight. With the crowd and the heat generated on stage, I can completely believe it. The two played and danced and sang their hearts out and then hung out with whomever wanted to talk after the show. It was a great night in a very great new venue in our city.
Blue Mother Tupelo at Boyd's Jig and Reel, Old City, Knoxville
Blue Mother Tupelo at Boyd's Jig and Reel, Old City, Knoxville
Blue Mother Tupelo at Boyd's Jig and Reel, Old City, Knoxville
Blue Mother Tupelo at Boyd's Jig and Reel, Old City, Knoxville
Keith (keyboard) and Kenneth Brown (drums) of the Nu-Jazz Fourtet
One of the great things about having a few days without that little detail of a day job rearing its head is the opportunity to take in some late-night entertainment which might otherwise be sacrificed in the chase for the almighty dollar. I've missed several of those opportunities due to other obligations this holiday season, but I finally caught one of the 10:00 shows at Barley's.
Barley's shows are notorious for running behind schedule. The announced starting time seems to be more of a suggestion. I've also arrived for a 10:00 show that wound up starting at 10:30 and featuring an opening act I had not anticipated, making for an 11:30 start for the artist I came to see. It makes that hard decision about waiting for a second set after a "brief break" all the more perilous.
This past Monday night I took the walk into the Old City on a perfect winter night. The temperatures hovered in the upper thirties, there was no wind and the rain would not start until about twenty minutes after I returned home. People stirred in pockets, the city still not back to its usual frenetic pace.
Jamel Mitchell and Will Boyd with the Nu-Jazz Fourtet
Keith Brown and the Nu Jazz Fourtet took the stage promptly at 10:00. The band includes Keith L. Brown on piano, Kenneth Brown on drums, Clint Mullican on bass and Jamel Mitchell and Will Boyd on saxophone. The music moves afield from straight jazz with nods to R and B, funk and rock, but stays rooted in the jazz form. Unlike some phusion or nu-jazz music, this band does feature individual solos as does the more traditional jazz.
And in this case, that is a good thing. A very good thing. Each member of the band is extremely talented with their particular instrument and that was well displayed at Barley's. I only wish more people there were focused on the music. There were probably a half-dozen to a dozen people carefully listening while others milled about drinking, laughing, flirting and otherwise having a good time talking over the music. I saw one young man transfixed by the music but accosted by a young lady with seemingly amorous intentions. He resisted as long as possible for the art, but in the end, well, she was cute and they left together.
The band was tight and some of the solos were amazing. Keith is a very accomplished pianist and band leader. I kept wondering as he took his turns in the spotlight how someone who knows jazz piano would compare his playing to his fathers, though they work somewhat different corners of the jazz world. Both saxophone players took some excellent turns and Clint and Kenneth lay a rock solid bottom to the music.
Keith Brown and the Nu-Jazz Fourtet, Barley's, Knoxville
The set ended just after 11:00 and I took the pleasant walk home. As I walked I thought about the state of jazz in the city and it seems pretty healthy. I worried when the S and W closed last year that it might be a while before we recovered as they often featured great jazz with Donald Brown and others. It seems the Underground at Crown and Goose, Bella Luna and, on this night, Barley's have stepped forward to give these great musicians a place to play.
The other thing I realized is that I'd be in bed by 11:30 having heard some great music. That isn't really too late even for a work night, so I'm going to open my mind a bit to the later shows. If I still lived outside the city it might be less practical, but this seems doable given that by the time I would have been in my car before, I'm getting ready for bed. What about the rest of you guys? Could you go to bed a little late to get out and support some of these great players?
Black Cadillacs, Preservation Pub, Knoxville, July 2011
But before they exploded I had a set of misadventures and near-misadventures. I reported here that they would give a roof-top concert beginning at 10:00. This was pretty exciting to me because I really love their live show, I hadn't seen the roof-top at Preservation Pub since it was opened and besides, doesn't it make you think of those iconic shots of the Beatles atop Apple Studios? OK, I'm probably alone on that one. I did wonder how they would get around the sound ordinance.
View from atop Preservation Pub at Night (Trust me, it is)
Misplaced Opening Act for the Black Cadillacs
At the door I was told the cover charge was $3. Not bad. Then the fellow asked if I was going to the rooftop. Of course I was! Why would I miss the concert, right? So, he told me in that case it would cost me a $5 cover charge and I would be asked for another $15, which would also get me two beers, before being allowed onto the roof. Now the cost was getting steep, and I can't stand beer, but I was in. I didn't want to miss this. I paid the next guy $15 and walked out into the night sky of Knoxville.
The crowd rocked, Oscar Wilde watched from the wall.
It was pretty cool though, as you can see in the photograph above, I couldn't figure out how to take a picture of it. Despite the cool factor, I quickly realized my mistake (though not quickly enough to preserve my life savings): The only thing happening on the top was a meet and greet with the band. Now I like talking to musicians, but really what am I going to say to these guys? "I really love your music, man." No. So, I walked around taking in the views from every direction.
Cranking it up: Black Cadillacs, Preservation Pub, July 2011
I fell into a conversation with a twenty-eight year old recent UT graduate who pointed out that nearly every building in sight was missing a few lights, giving us "First Bic," and so on. Chris told me he is moving to Atlanta. Knoxville is just a college town. He dismissed my alternative opinions as irrelevant. Washington D.C. came up and I allowed as how I think that's a great city to visit. He assured me it was a rat hole. Seattle seemed to be the only city worth anything. I asked him why he didn't move there and he said because he was moving in with his Dad in Atlanta to save money since he's unemployed. I wish I knew as much about the world, life and Knoxville as Chris.
I decided I preferred the smoke on the first floor further erudition at the hands of my new twenty-eight-year old friend. The concert was supposed to start at 10:00 and by then it was nearly 11:00. There was a guy on the stage who turned out to be the opening act. His songs seemed confessional and emotive and totally misplaced before the unappreciative patrons.
While waiting I met a guy who said he was from Denmark. In short order he told me he was gay, drunk and he loved Berlin and Amsterdam, though he saw many cute people in Knoxville. He kept grabbing my hand, pushing his face close to mine and bugging his eyes like he would mesmerize me. He placed his hand in the air hovering just over my head. I'm not sure if he wanted to pick me up or put a spell on me. At first he said, "Oh you are going to be so easy." Later he said, "You are just such a buzz kill." I hated to give up my spot beside the stage, but suddenly had a longing to be on the terrace with Chris. As soon as he said something to the cornered couple beside me, I ran.
After catching my breath and plotting how to avoid the guy from Denmark, I returned downstairs. Very soon the band was setting up and lining up the shots and beer which seem to be an integral part of the show. Whereas the entire end of the bar was empty during the first artist, a loud, excited crowd built in anticipation of the second act. By around 11:30 they began playing.
What followed was an hour and a half of a loud, high-energy free-for-all. Lead singer Will Horton's on-stage persona reminds me greatly of Chris Robinson of the Black Crowes, which isn't a bad pattern to pursue. The music which has always been a wall-of-sound blend of blues and southern rock seems to be changing slightly. I kept thinking all night that they were reminding me of a band I'd never thought of before in connection with them. I finally got it: The Black Keys. I think they did a Black Keys cover late in the show. They were on fire and the crowd was with them all night. They finally stopped around 1:00 AM, but the crowd wanted them to keep going.
It was a bit jarring a few hours later to see Will waiting tables at Oodles Uncorked. The band is trying to stay on the road and apparently they don't make enough to cover the expense, hence the meet-and-greet at Preservation Pub and waiting tables at another West owned establishment. It's nice of them to support young talent.
Black Cadillacs (with guest) finish encore, Preservation Pub, Knoxville
One more thing: at one point they brought a very talented guy onstage to play a lap slide guitar. It was a very welcome addition to the sound. Even though they have a big sound, they need a star instrumentalist. No one is really capable of a great lead break and they need someone who can handle those duties, whether it be the guy who sat in or someone else. Until then, they are a very fun band to hear, but a small piece required to reach next level is missing.
Black Cadillacs, Sundown in the City, Market Square, Knoxville
I had mixed feelings about the last Sundown in the City. I'm always sad to see it end, knowing I'll miss it and wondering if this will be the last of a great series. I also had a dinner planned at Tomato Head with friends and all the restaurants are more crowded on Sundown days, though that turned out to be fine. I most looked forward to the Black Cadillacs with their raw rock and roll sound. I'd missed their set at the Dylan Bash and it had been a while since I'd heard a full show by them. As for Warren Haynes, I wasn't really that excited, but figured I'd give him a chance.
Will Horton and Philip Anderson of the Black Cadillacs
Black Cadillacs, Sundown in the City, Knoxville, June 2011
As fate would have it, I missed most of the Black Cadillacs' show, seeing only the last two or three songs. The boys really have grown musically. They still don't look like rock stars - just a little too squeaky clean - and they don't quite have the rock star nonchalance down, but they know how to rock, and I think that's a little more important than the other stuff. If these guys can hang together and make it through all the inevitable ups and downs inherent in the business, they could wind up doing themselves and Knoxville proud.
Warren Haynes and Band, Knoxville, June 2011
Warren Haynes, Sundown in the City, Knoxville
The crowd was obviously buzzed for Warren Haynes. As I said earlier, I wasn't that thrilled. I believe I've seen him twice before, which I realize is an odd statement: Have I or haven't I? Well, I saw the Other Ones on their first tour after Jerry (that's Garcia, as in the Grateful Dead for those of you not into that scene) died and I think he was one of two guitarists doing Jerry's parts. I thought at the time if I closed my eyes and listened, I could imagine it was Jerry playing both parts. I also believe I saw him with Phil Lesh and Friends (bass player for the Grateful Dead) when they toured with Bob Dylan.
Warren Haynes, Knoxville, June 2011
I'd never heard Gov't Mule or a Warren Haynes solo show. I had formed an, as it turned out, unfair stereotype of Warren Haynes as a mindless jammer. I know he's popular on the Jam Band circuit, so that's what I expected: a bit of song followed by ten minutes of aimless noodling on the instruments.
Warren Haynes
I should know better. Not all jam bands are created equally. I really enjoyed the Grateful Dead and they could stretch it out interminably for some people's taste. I enjoy a good jazz jam, though not so much a Phish extravaganza. The jam model that applied the most was the one that was most logical: The Allman Brothers. Logical because he has a long history of work with them. He even sounded like Greg Allman lite at times - and that's a compliment because I think Greg has one of the all-time best rock and roll voices.
Warren Haynes, Knoxville, June 2011
I enjoyed the night enough that I stayed all the way through and I hadn't necessarily planned to do that. He is touring in support of his new solo album Man in Motion which was recorded for the Stax label - that bastion of soul that I didn't know still existed. This fact has shifted his music more in the direction of traditional soul, which probably explains why I enjoyed it so much.
The jams didn't seem to bend the songs beyond recognition and his playing was tasteful and soulful. I know, I should have know. I'm not sure where all the negativity came from. Along the way the keyboard player did some great work both on the keyboards and vocals. He seemed to have the most charisma of anyone on the stage, which made it a bit unfortunate that he was so anchored behind the organ.
I did not catch the name of the woman singing backing vocals, but I thought she was a nice addition. I felt she could have been used more for harmony vocals to soften his ragged cords. She wasn't on stage for about half the songs. I believe I caught she is new with the band, so maybe they are working her in slowly. She did sing a portion of Living For The City, the Stevie Wonder classic which, interestingly was also performed by Jonny Lang at the last Sundown.
The crowd was very large, but sort of polite. I stood one person from the front by the end of the show and I didn't have to be rude to get there - there seemed to be a larger need for personal space among this crowd and a number of them listened for a while then drifted away.
Warren Haynes concludes Sundown in the City
Sometimes I felt that the band had the Allman Brothers' feel, but without the great songs. Or maybe I just am less familiar with them. The concert ended with the song Soulshine, which was recorded by the Allman Brothers and got some airplay, but which was written by Warren Haynes. It's an excellent song and served as a great closer.
I've enjoyed the shows this season and, though I wasn't thrilled with the line-up initially, maybe the promoters have found the right level of famous for the space. I hope they feel good about it because I certainly want it to return. Here's hoping.
In the meantime, here's a video of Warren performing "River's Gonna Rise," so you can see what you think. I think you'll like it.
I'm a person who is interested in documenting urban life as I experience it in Knoxville, TN, from the fun to the tragic, from the silly to the profound. If you have a thought you'd like to share privately, you can contact me at KnoxvilleUrbanGuy@gmail.com.
